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This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Darren Freebury- Jones

identical construction ‘ Then they fight ’, which occurs twice in Soliman and Perseda ( S&P , 3.1.111 SD; 5.4.59 SD), once in Arden of Faversham ( AF , 9.29 SD), and in no other play. Furthermore, I show that only one other Elizabethan play contains a stage direction beginning with the formulation ‘ Then they ’, and that is King Leir , during the moment when the

in Shakespeare’s tutor
Popular culture and (non-Whedon) authorship
Matthew Pateman

implicit anti-format it carries within it to the extent that every aspect of a show that becomes potentially predictable is open for revision. In the teaser to ‘Pangs’, a development from outline to second draft sees a simple fight between Buffy and a vampire called Kit become something different. The stage direction has ‘A young, sweet-faced student-type, JAMIE’ (‘Pangs’ second draft) looking nervous and

in Joss Whedon
Abstract only
The visual turn in Antony and Cleopatra
Richard Wilson

one convention to the other; just as Antony foresees his body twisted to shapeless ‘baseness’ when he is ‘windowed’ and ‘penetrated’ by the spectators of Rome. 26 ‘The time of universal peace is near’, declares Shakespeare’s Octavius, in the Virgilianism of the Stuart court, giving a spatial stage-direction for this messianic epoch to be put on show: ‘the three-nooked world

in Free Will
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Follow the noise
Laura Jayne Wright

-tempest, / The ladles, dishes, kettles, how they fly all! / And how the glasses through the rooms!’ This is no throw-away sound: this is Bartolus's Tempest moment, a sonic storm of smashed glasses and thrown ladles. A final stage direction reminds us of the lingering effect of sound, beyond its initial cue. There is ‘ Noise still ’; the pewter being thrown about backstage must have had quite a hammering. The longer Bartolus rages, the funnier will be the bathetic revelation that his wife has been not with a lover but at church. The three directions printed in The Spanish

in Sound effects
Carol Chillington Rutter

, nor ‘any physic to recure the dead’. ‘ She runs lunatic ’, as the stage direction has it; talking to her female servant as if she were the child Horatio whom she’d promised ‘gowns and goodly things […] / […] a whistle and a whipstalk’; then imagining her soul on ‘silver wings’ mounted ‘unto the highest heavens’ where she sees Horatio ‘Back’d with a troop of fiery cherubins

in Doing Kyd
Ton Hoenselaars
Helmer Helmers

Schoneveld to suggest that this was also the source of later adaptations of The Spanish Tragedy . 21 However, the introduction of the Painter scene in Van den Bergh’s 1621 adaptation of the play suggests a later version of the play, even though we cannot exactly pinpoint which. A similar hybridity appears in the 1638 Dutch version of The Spanish Tragedy regarding the following stage direction: ‘ Jeronimo

in Doing Kyd
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Hamlet and early modern stage ghosts
Elisabeth Bronfen
Beate Neumeier

their entrails. 9 In the play, as Antonio addresses his father’s ‘mighty spirit’ (3.1.27), a voice unexpectedly replies. There is no original stage direction, but the ghost’s words make clear that a spectral figure rises from the sepulchre itself, tearing his wrappings as he does so: Thy pangs

in Gothic Renaissance
Movement as emotion in John Lyly
Andy Kesson

be a new heavenly body or a new kind of man. 30 Stage directions are similarly uncertain: the quarto describes the human as ‘ Image ’ until she is given the power of speech, when the stage direction, ‘ Image speaks ’ (85.1) is immediately followed by a speech prefix combined with a stage direction: ‘ Pandora kneeling ’. 31 The

in The Renaissance of emotion
Faecal references in eighteenth-century French théâtre de société
Jennifer Ruimi

whom owned theatres – but the scene’s medical context legitimated its scatological content. The second stage direction is more startling. On-stage defecation would certainly have created a ‘dramatic stage effect’, to quote the text, and one wonders whether this direction was meant literally or metaphorically. How can a character enact severe diarrhoea? And what was actually shown on the stage? Although I have not found any accounts of this play by those who saw it, a note written by the author of Caquire, Vessaire – probably to be identified with a certain Bécombes

in Bellies, bowels and entrails in the eighteenth century